WHAT MAKES A CULT ARTIST? Whether pioneering in their craft, fiercely and undeniably unique, or critically divisive, cult artists come in all shapes and guises. Some gain instant fame, others instant notoriety, and more still remain anonymous until a chance change in fashion sees their work propelled into the limelight. In this nifty little book, Ana Finel Honigman handpicks a selection of inspiring artists you should know – from the iconic Salvador Dalí and Frida Kahlo, to radical activists such as the Guerrilla Girls and Ana Mendieta. The artistic mediums explored are similarly varied, with sculptors, performance, graffiti and fine artists alike. From little knowns with small, devout followings, to superstars gracing the covers of magazines, each is special in their individuality and their ability to inspire, antagonise and delight. Cult Artists is an essential addition to any art lover's library, as well as an entertaining introduction to our weird and wonderful art world. Also in the series: Cult Filmmakers, Cult Musicians + Cult Writers The artists: Dan Attoe, Balthus, Jean-Michel Basquiat, Jospeh Beuys, Christian Boltanski, Louise Bourgeois, Leigh Bowery, Chris Burden, Sophie Calle, Chapman Brothers, Judy Chicago, Joseph Cornell, Molly Crabapple, Salvador Dali, Niki de Saint Phalle, Marcel Duchamp, El Anatsui, James Ensor, H. R. Giger, Gilbert & George, Guerrilla Girls, Nan Goldin, Jenny Holzer, Donna Huanca, Dorothy Iannone, Frida Kahlo, Allan Kaprow, Mike Kelley, Yves Klein, Barbara Kruger, Yayoi Kusama, Kazimir Malevich, Christian Marclay, Ana Mendieta, Alice Neel, Herman Nitsch, Yoko Ono, Orlan, Genesis P-orridge, Carol Rama, Faith Ringgold, Mark Rothko, Mark Ryden, Carolee Schneemann, Yinka Shonibare, Malick Sidibe, Stelarc, Florine Stettheimer, Kara Walker, David Wojnarowicz.

The book examines the process of symbolic and material alteration of religious images in antiquity, the middle ages and the modern period. The process by which the form and meaning of images are modified and adapted for a new context is defined by a large number of spiritual, religious, artistic, geographical or historical circumstances. This book provides a defined theoretical framework for these symbolic and material alterations based on the concept of iconotropy; that is, the way in which images change and/or alter their meaning. Iconotropy is a key concept in religious history, particularly for periods in which religious changes, often turbulent, took place. In addition, the iconotropic process of appropriating cult images brought with it changes in the materiality of those images. Numerous accounts from antiquity, the middle ages and the modern period detail how cult images were involved in such processes of misinterpretation, both symbolically and materially. The book will be of interest to scholars working in art history, visual culture and religious history.

The Roman Empire at its height encompassed the majority of the world known to the Romans. This important synthesis of recent findings and scholarship demonstrates how the Romans acquired, kept and controlled their Empire. Lintott goes beyond the preconceptions formed in the period of British Imperial rule and provides a contemporary post-imperial approach to the Roman exercise of power.

Provides an innovative reinterpretation of the cultural revolution through the medium of the poster -- a major component of popular print culture in China.

A ROUGH TRADE, MOJO, UNCUT & LOUDER THAN WAR BOOK OF THE YEARSHORTLISTED FOR THE RALPH J. GLEASON MUSIC BOOK AWARDA redemptive, myth-shattering biography of one of the twentieth century's most underestimated creative and artistic forces.'Here is the Odyssey of Nico . . . a scholarly and detailed chronicle of this brilliant artist, who was spurned and tortured for her trouble.'IGGY POP'At last, a comprehensive and compelling book about Nico.'VIV ALBERTINE'Absorbs from start to finish.'OBSERVERThe real story of Nico is one of determination, self-destruction and belief in one's artistic vision, at any cost . . .You Are Beautiful and You Are Alone is an empowering reappraisal of an underappreciated icon. Drawing upon new interviews and rare archival material Bickerdike defies the sexist casting of Nico's life as the tragedy of a beautiful woman losing her youth and fame, and instead cements her legacy as one of the most vital artists of her generation.'Gripping.' THE TIMES'[This] book gets closer to understanding Nico than most.' GUARDIAN'Deserves to sit with the great biographies.' RECORD COLLECTOR'A compassionate portrait of a musician whose artistry has often been overlooked.' MOJO'Valuable . . . Bickerdike gives Nico her due as an artist.' THE SPECTATOR'Entertainingly written and insightful.' INDEPENDENT'The best music book you will read this year.' LOUDER THAN WAR

“Writing about yourself is a funny business…But in a project like this, the writer has made one promise, to show the reader his mind. In these pages, I’ve tried to do this.” —Bruce Springsteen, from the pages of Born to Run In 2009, Bruce Springsteen and the E Street Band performed at the Super Bowl’s halftime show. The experience was so exhilarating that Bruce decided to write about it. That’s how this extraordinary autobiography began. Over the past seven years, Bruce Springsteen has privately devoted himself to writing the story of his life, bringing to these pages the same honesty, humor, and originality found in his songs. He describes growing up Catholic in Freehold, New Jersey, amid the poetry, danger, and darkness that fueled his imagination, leading up to the moment he refers to as “The Big Bang”: seeing Elvis Presley’s debut on The Ed Sullivan Show. He vividly recounts his relentless drive to become a musician, his early days as a bar band king in Asbury Park, and the rise of the E Street Band. With disarming candor, he also tells for the first time the story of the personal struggles that inspired his best work, and shows us why the song “Born to Run” reveals more than we previously realized. Born to Run will be revelatory for anyone who has ever enjoyed Bruce Springsteen, but this book is much more than a legendary rock star’s memoir. This is a book for workers and dreamers, parents and children, lovers and loners, artists, freaks, or anyone who has ever wanted to be baptized in the holy river of rock and roll. Rarely has a performer told his own story with such force and sweep. Like many of his songs (“Thunder Road,” “Badlands,” “Darkness on the Edge of Town,” “The River,” “Born in the U.S.A.,” “The Rising,” and “The Ghost of Tom Joad,” to name just a few), Bruce Springsteen’s autobiography is written with the lyricism of a singular songwriter and the wisdom of a man who has thought deeply about his experiences.

The fame of Joan of Arc began in her lifetime and, though it has dipped a little now and then, she has never vanished from view. Her image acts as a seismograph for the shifts and settlings of personal and political ideals: Joan of Arc is the heroine every movement has wanted as their figurehead. In France, anti-semitic, xenophobic, extreme right parties have claimed her since the Action Francaise in the 19th century. By contrast, Socialists, feminists, and liberal Catholics rallied to her as the champion of the dispossessed and the wrongly accused. Joan of Arc has also played a crucial role in changing visions of female heroism. She has proved an inexhaustible source of inspiration for writers, playwrights, film-makers, performers, and composers. In a single, brief life, several of the essential mythopoiec characteristics that throughout history have defined the charismatic leader and saint are powerfully and intensely condensed. Even while Joan of Arc was still alive, but far more so after her death, the heroic part of her story sparked narratives of all kinds, in pictures, ballads, plays, and also satires. This was only heightened in 1841-9 by the publication of the Inquisition trial which had examined Joan for witchcraft and heresy. The transcript of the interrogations gives us the voice of this young woman across the centuries with almost unbearable immediacy; her spirit leaps from the page, uncompromising in its frankness, good sense, courage, and often breathtaking in its simple effectiveness. Joan of Arc into one of the most fully and vividly present personalities in history, about whom a great more is known, in her own words and at first hand, than is, for example, about Shakespeare. However, this has not stopped the flow of fictions and fantasies about her. Marina Warner analyses the symbolism of the Maid in her own time and in her rich afterlife in popular culture. The cultural expressions are part of an ongoing historical struggle to own the symbol - you could say, the brand. In a new preface to her study, Marina Warner takes stock of the continuing contention, in politics and culture, for this powerful symbol of virtue. Joan of Arc's multiple resurrections and transformations show how vigorous the need for figures like her remains, and how crucial it is to meet that need with thoughtfulness. She argues that abandoning the search to identify heroes and define them, out of a kind of high-minded distaste for propaganda, lets dangerous political factions manipulate them to their own ends. When Marine Le Pen calls on Joan of Arc's name, she needs to be confronted about her bad faith and her abuse of history.

This volume is the first comprehensive study of the influence of English Pre-Raphaelitism on Italian art and culture in the late nineteenth century. Analysis of the cultural relations between Italy and Britain has focused traditionally on the special place that Italy had in the British imagination, but the cultural and artistic exchanges between the two countries have been much misunderstood. This book aims to correct this imbalance by placing Pre-Rapahelitism in its European context. It explores the nature of its influence on Italy, how it was transmitted, and how it was manifested, by focusing on the role of Italian Anglophiles, the English communities in Florence and Rome, the writings of Gabriele D'Annunzio, and a number of Italian artists active in Tuscany and Rome. The works of Cellini, Ricci, Gioja, De Carolis, and Sartorio in particular fully demonstrate the impact of Pre-Raphaelitism on the young Italian school of painting which found in the English movement an ideal link with its glorious past on which it could build a new artistic identity. These artists show that English Pre-Raphaelitism was one of the most powerful single influences on fin-de-siecle Italian culture.

A pertinent and crucially important memoir exposing the existence and practices of organised criminal groups who abuse children. Written by a survivor of mind control and ritual abuse, who is also a therapist, this moving memoir will help survivors of abuse, and provide important information for professionals about the dissociative brain. Hoffman's poetic prose contrasts with the horror of the subject matter. The adult journeys back to give voice to infant and child parts of her, describing her handlers' early interventions to destroy bonding and create dissociation, the foundation of reverse-Kabbalah suicide and pathway programming, and the installation of mind control. Scenes from ordinary life are interspersed throughout the memoir: Nazi post-war recruitment of American subjects during the 1940s and 50s (including the infamous Dr. Mengele), children used for prostitution, pornography and the drug trade along with the workings of the Illuminati leadership and their international Feast of the Beast rituals are all included. The memoir also covers attempts at recovery, experiences with cult therapists in disguise and finally the author's work with an honest, competent therapist, which led to healing and her brain melding together. Ultimately, The Enslaved Queen acknowledges spiritual experiences, the power of love, the memory process, and thoughts on living and surviving a life such as hers.

In the view of Hegel and others, pagan art is the art of the beautiful and Christian art is the art of the sublime. Roger Homan provides a comprehensive and informative account of the course of Christian art, encompassing a re-evaluation of conventional aesthetics and its application to religious art. Homan argues that taste and aesthetics are fashioned by morality and belief, and that Christian art must be assessed not in terms of its place in the history of art but of its place in Christian faith. The narrative basis of Christian art is documented but religious art is also explored as the expression of the devout and as an element in the trappings of collective expression and personal quest. Sections in the book explore pilgrimage art, puritan art, the tension of Gothic and Classical, church architecture and the language of worship. Current areas of debate, including the relationship of ethics to the appreciation of art, are also discussed.